How old is Li Yifeng

Li Yifeng (1964-) is a member of the Chinese Artists Association, a member of the Chinese Painting Art Committee of the Chinese Artists Association, a member of the Chinese Society of Poetry, a member of the River and Mountain Painting Society of the Chinese Artists Association, a member of the jury of the Twelfth National Fine Arts Exhibition, a member of the Society of Chinese Cultural Relics, a vice-chairman of the Tianjin Artists Association, a vice-director of the Specialized Committee on Mountain and Bird Painting of the Tianjin Artists Association, the chairman of the Tianjin Hexi District Artists Association, and the honorary director of the Great Landscape Institute of Xinjiang. Vice Chairman of Tianjin Artists Association, Deputy Director of the Specialized Committee on Landscape Painting of Tianjin Artists Association, Deputy Director of the Specialized Committee on Bird and Flower Painting of Tianjin Artists Association, Chairman of Tianjin Hexi District Artists Association, and Honorary Director of Xinjiang Great Landscape Institute. He is a visiting scholar at Renmin University of China, a visiting professor at the School of Chinese Painting of the Tianjin Academy of Fine Arts, a visiting professor at Nankai University, a visiting professor at the Asia-Pacific Academy of Arts, a part-time professor at the Command College of the Chinese Armed Police, and a special instructor at the Tianjin Painting Academy. President of Tianjin People's Fine Arts Publishing House and Secretary of the General Party Branch.

Chinese Name: Li Yifeng

Nationality: Chinese

Ethnicity: Han Chinese

Birthplace: Tianjin

Date of Birth: May 1964

Occupation: Scholar, Painter

Graduated from: Nankai University, Central Academy of Fine Arts

Representative Works: "The Highland Secluded Dwelling" "The Cangyan" "The Wonderful Sound of Landscape", etc. Landscape Wonderful Sound, etc.

Positions held

Was deputy editor-in-chief of Tianjin People's Fine Arts Publishing House, deputy director of Tianjin Art Education Institute, editor-in-chief of many magazines such as National Painter, National Painting, National Painting World and Fine Artist, editor-in-chief of Tianjin Publishing House, deputy secretary-general of Tianjin Cultural Industry Association, director of the Art Committee of the Calligraphy and Painting Research Association of the Tianjin Political Consultative Conference, and vice-president of the Tianjin Society of Chinese Culture. He is the deputy secretary-general of Tianjin Cultural Industry Association, the director of the Art Committee of Tianjin Political Consultative Conference Painting and Calligraphy Research Society, and the vice president of Tianjin National Society.

Artistic experience

Born in Tianjin in 1964;

Scribbled in 1968 (at the age of 4);

Entered the Hexi Children's Palace of Tianjin to learn painting in 1970 (at the age of 6);

Completed a thematic series of 72 cartoons independently and exhibited them in the Children's Palace in 1971 (at the age of 7);

Took up gouache for the first time and attempted to draw in 1972 (at the age of 8). In 1972 (at the age of 8) learnt gouache and tried to copy the cover of the comic strip "Lenin in October", which was exhibited in the Children's Palace; in the same year, he studied traditional Chinese medicine and martial arts under the master of Yang Shen, a famous Chinese medicine practitioner and martial artist from Tianjin;

In 1974 (at the age of 10) learnt the violin; in the same year, he studied under the master of Mr. Wang Jinglu, a scholar and scholar-painter (a descendant of Lawrence Liu of the Qing Dynasty), and learnt the two tablets of "Cuanlongyan", "Cuanbaozi", "Zhangqian Stele", "Shi Guwen", "Jinwen", "Shiquwen" and "Jinwen". Shi Gu Wen" and Jinwen;

1976 (12 years old) began to learn seal carving with Mr. Wang Jinglu, and taught Jinshi exegesis and classical poetry; into secondary school, in school with Mr. Shidong to learn the basics of Western painting, such as sketching and sketching;

1978 (14 years old) works "send sister to the countryside," participated in the Tianjin Youth Painting Exhibition;

1982 (18 years old) at the Nankai University, Professor Xue In 1982 (age 18), at the suggestion of Mr. Xue Baokun and Mr. Liu Zehua, professors of Nankai University, Li Yifeng gave up enrolling in the Tianjin Academy of Fine Arts and enrolled in the School of History of Nankai University, majoring in the history of ancient Chinese thought;

1982-1986 (18-22 years old), during his college years, Li Yifeng completed the major courses in the history of ancient Chinese thought, and took a minor in museums, as well as most courses on Chinese culture in the Departments of Philosophy and History, and Chinese Language and Culture. During his college years, Li Yifeng completed his major in the history of ancient Chinese thought and minored in the museum program, as well as most of the Chinese culture courses in the departments of philosophy and history and Chinese. At the same time, with the pre-Qin ideological historian Mr. Liu Zehua, paleographer, bronze expert Mr. Zhu Fenghan, calligraphy and painting connoisseur Mr. Liu Guangqi completed the history of Qin and Han ideology, Chinese bronzes and archaeology, history of Chinese painting and calligraphy and painting and painting appraisal and other courses;

1985 (at the age of 21), 1986 (at the age of 22) Li Yifeng held two calligraphy exhibitions in Nankai University;

1986 (at the age of 22), Li Yifeng held two exhibitions at Wang Jinghua University. In 1986 (at the age of 22), under the guidance of Mr. Wang Jinglu, he began to systematically study the life and painting theories of Huang Binhong and copied his landscapes, and at the same time, he studied Gong Xian's paintings and Shi Tao's brushwork in running script;

In 1986 (at the age of 22), inspired by Li Xiaoshan's "The End of the Road for Chinese Paintings", an art historian from the Nanjing Academy of Fine Arts, Li Yifeng wrote his graduation thesis on the topic of "The Essence of Chinese Calligraphy".

In 1987 (at the age of 23), Li Yifeng was recommended by the Tianjin People's Fine Arts Publishing House to enter the Central Academy of Fine Arts, where he studied and researched Chinese art history and theories under Xue Yongnian, and completed papers and treatises such as The Philosophical Belongings of Chinese Painting and Notes on Seal Engravings. During this period, he completed papers and theses such as "Philosophical Attribution of Chinese Painting" and "Notes on the Classes of Seal Engraving". During this period, Li Yifeng started to write the Dictionary of Chinese Seal Engraving, during which Li Yifeng was also guided by Mr. Sha Menghai and Mr. Han Tianheng, the famous masters of the Hai School of Painting. It took several years until 1993, when the Dictionary of Chinese Seal Engraving was published by Henan Fine Arts Publishing House;

Between 1993 and 2000 (at the age of 29-36), Li Yifeng wrote articles such as The Present Situation of Chinese Ink and Wash in the Nineties and The Understanding and Practice of Chinese Painting; afterwards, Li Yifeng went to Taiwan to study the traditional Chinese paintings, and compiled and edited Paintings Collected in the National Palace Museum, Taipei.

Publications and Activities

2006 (age 42) went to Russia to study museums and the Leben Academy of Fine Arts;

2008 (age 44) went to the University of Berkeley, USA to study Chinese and Western art, lecture and exchange, and to leap over the Grand Canyon of the Colorado for sketching;

2013 (age 49) went to the Louvre, Germany to participate in the Great Exhibition of Chinese and Western Art and served as a jury member. jury, and then went to five countries in northern Europe to study museums and sketching;

2014 (50 years old) served as a member of the Chinese Painting Art Committee of the China Artists Association, the twelfth national art exhibition jury;

2015 (51 years old) served as vice chairman of the Tianjin Artists Association;

2016 (52 years old) with Mr. Li Keran's son, Mr. Li Geng **** edited the fifteen volumes of "Mustard Seed Garden Painting Biographies Illustrated Explanations", systematically interpreting and reading the original Mustard Seed Garden Painting Biographies with works of famous artists of all times;

2018 (54 years old) Li Yifeng was invited by the organizers of the WTA (Women's Tennis Association International) International Open Tennis Championships to make an inscription for the competition;

2019 (55 years old), initiated the conceptualization and drafts for the "Zhouyi Series", attempting to use the philosophical perspective and contemporary artistic language to interpret Chinese landscape painting and the spirit of traditional culture.

Major papers include: "The Philosophical Attribution of Chinese Painting", "The Understanding and Practice of Chinese Painting", "The Ink Context of Bada Shanren", "Artistic Innovation and Cultural Confidence", "Li Yifeng Talks about Calligraphy, Painting and Nourishment of Health", "Selected Calligraphy, Painting and Seal Scripts Works of Li Yifeng", and so on.

Li's works have been included in Chinese Contemporary Bird and Flower Painting, The Most Academic Value and Appreciation Potential of Contemporary 100 Chinese Painters Investment Value Evaluation, The Collection of Works of 100 Young and Middle-aged Painters and Calligraphers, Chinese Fine Arts 1979-1999, Contemporary Chinese Landscape Painting, and 60 Artists of China, and so on. His publications include: Li Yifeng's Collection of Paintings, The Meeting Place is Not Far Away, and so on.

Artistic Outlook

Art is the privilege of genius. In Chinese culture, the cognitive activity of the ontology of the universe is realized through the cognition of the ontology, the "self-consciousness" of human beings. The art of painting, as the consciousness of Chinese culture, has been closely connected with the exploration of the mysteries of the universe and nature from the very beginning, and has formed a set of unique thinking methods and cognitive theories over the past thousands of years, which has become the source of Chinese art creation. The significance of genius lies in the ability to understand and undertake this cognitive relationship, and transform it into random and open conceptual thinking and art forms that characterize cognition.

The three elements of an artist: intelligence, solitude, and creativity. Art is the embodiment of metaphysics. "Drawing is not a stop art, the line into the same body with the easy image", the embodiment of the law must first recognize the law and grasp the law, it should be the result of high wisdom. The progression of understanding and the elevation of the spirit will inevitably conflict with the objective existence of the state of existence and behavioral norms, forming a contradictory relationship. Therefore, it is a necessary quality for an artist to establish a correct consciousness of life and adjust the conflicts between man and nature, society and the world. It is only through recognizing the world and nature in the conflict that one can accurately express the "inner quality" and "true meaning" of nature and society.

Tradition is the extension of time and the continuity of thinking, which is the open-mindedness, grandeur, numerous concepts and potential rational discursive artistic ideas constructed behind the artistic form of Chinese painting. From this point of view, the behavioral activities and norms themselves should be the embodiment of the real tradition, but it is hidden, controlled from the deep consciousness, and at the same time infinite. If it is infinite, it cannot be bounded, and to be bounded is to be negated. Therefore, tradition is not fixed, it is an eternal and reliable source of information.

The form of art is the manifestation of the relationship of things. The essence of relationship is the black-and-white system of Chinese painting, which is generated by the yin and yang relationship of simple dialectics. Lao Tzu says: "Know its white, keep its black." Fan Yingyuan of the Song Dynasty wrote: "White is the light, and black is the darkness." White is to show the light, black is to hide the black mystery, painting mastered the relationship between the things that appear, in order to hide their true nature, so that the performance of the object to increase the level and quality of the implied. White is the diffusion of black, black is the cohesion of white; black is real, white is virtual; black is dense, white is sparse. Both opposites and unity. Black and white are the holy light of success for Chinese painters.

In dealing with the relationship of things, the language of brush and ink is supreme, and all relationships are conveyed and shaped by the changes in brush and ink to convey and shape the message of the object.

Line is the most typical language symbol of Chinese painting with cultural connotation. It is the most typical because it is a method of expression that has been continuously enriched and perfected with the development of history, and has become a universal symbol that has been passed down for thousands of years; and it has the most cultural connotation because this universal symbol is based on the culture of Chinese characters, which is a product of the Chinese people's cosmic outlook on the realization and practice in social production and life activities.

For a painter, the significance of line is threefold: firstly, to model with line, to use the characteristics of line to fit the temperament and texture of the creative object; secondly, to convey feelings with line, to use line as a medium to express the mood of the situation, reflecting the subject's ideal of life and artistic pursuits; and thirdly, to embody the subject's view of cognition through the irreplaceable independence of line.

Artistic creation is a metaphysical spiritual labor, which extracts ideals from the rich natural society and real life, and turns them into reality in artistic practice. In this process, the objectification of the essential power of man allows the artist to intuit himself from it. In turn, the objectified form also constitutes the mood and typical character of the work.

Artistic language should have independent value. Whether it is in the treatment of form, spatial reality, color and shape, each part, each language symbol, should have independent aesthetic characteristics. Meanwhile, in the treatment of the relationship, the continuity and change of language should also be emphasized, so that the whole piece is whole and stable, and there are changes in the unity, forming a kind of orderly and sentient overall experience feeling, and making it have abstract logical relationship and visualization of psychological relationship. The internal organization and self-evolution of this logical relationship form the order, structure and system on the screen.

Chinese paintings, from the modeling of objects on the screen to the technical configuration of brush and ink, from the setting of an ideal living environment to the flow of modern mentality, all rely on the intuitive way of perception from the beginning to the end, and in the form of paintings, they relate ideals to reality, concepts to forms, and the relationship between man and nature to their own forms of thinking and states of consciousness, to achieve a kind of idealized order and awareness.

The starting point of Chinese painting is intuitive perception. The significance of intuitive perception lies in the true expression of the spiritual meaning of human introspection. Conscious introspection should be said to be a kind of spiritual behavior for human beings to perfect themselves, which has rational meaning and significance of life. It originates from the cognitive experience and grasp of the relationship between man and nature, and is a movement and manifestation of the soul and the inner quality of life, a purer sense of life. This feeling has been grasped for thousands of years in the development history of Chinese painting. The modernization process nowadays promotes the modern development of this sense of life. Painters give all the intuitive feelings to their works in the cultural character of basic creation, and at the same time, they also try to undertake and rebel dialectically against history in the setting of formal language, emphasizing the sense of individuality and history, the sense of the universe and the sense of the mysterious, and presenting all the characteristics to the subject completely, concretely, and vividly in their sensory perceptions and appearances, so as to constitute a kind of aesthetic experience and feeling towards the object on the basis of cognition.

Chinese painting has begun to transform from functional to temperamental since the participation of the literati. It takes the embodiment of temperament cultivation as the center of expression, and is seldom used to extract some purely artistic elements explicitly from the concealment of temperament expression and place them in the awareness and understanding of the main body of creation. Modern Chinese painters have their own way and level of psychological composition. How to integrate this way and level with the national kernel of the spiritual meaning of people's conscious introspection, and to strengthen the specificity of the way of thinking in the integration, is the key to the establishment of modern painting consciousness. Taking the elements of art as the main body and the purified language of ethnicity as the carrier marks the transformation of Chinese contemporary art from the traditional to the modern concept of awareness.

The overall goal of art is the overall goal of human development. That is to say, in the process of turning ideals into reality, the purpose and status quo are realized by implementing them in the process, creating the value of the subject. In the process of value creation, the free spirit is the body and the creation of value is the use. Thus the self or free spirit or free individuality takes on an ontological nature. From this point of view, the state of freedom and the realm of truth, goodness and beauty achieved by artistic creation makes nature a humanized nature suitable for the development of human nature, and makes the spirit a free personality unified with truth, goodness and beauty. The humanization of nature and the entry of artistic creation into freedom are both conditioned by free individuality, which is also the condition for the spirit to reach freedom. The freedom of personality and the freedom of spirit lie in the human cognitive office, or can be called wisdom. This is a development that never has an end.

The sense of rationality that transcends reality should first transcend the awareness of the spatial and temporal view of reality, and then transform the awareness into the order of thinking and structural consciousness. This is the root of the expression of landscape painting.

Man is a part of nature. Only when nature receives information from people can it be accepted by people and given a sense of nature. The landscape expression of the line language is showing the text of man.

The line can embody the connotation of history and life, but it needs spiritual pain and suffering to raise awareness and turn knowledge into wisdom to achieve. The trajectory of the line is the trajectory of life, and the height of the line is the height of awareness.

In essence, the full message given to the line in contemporary times is unprecedented. The transformation of information into connotation is the key to the meaningful existence of the irreplaceable independent linguistic content that the line possesses.

The grasping and mastery of line is the special mark of being a Chinese painter.